When you do get in, how should you act? Like yourself, unless you wish to attract attention by virtue of your eccentricity-which doesn't pay off in the long run.
The biggest complaints among casting directors are:
- Regional dialects-"If I want a Brooklyn or Southern accent, I'll hire an actress with good speech who can do dialects," said one TV casting director.
- Picture doesn't look like the person (too old, too young, too glamorous, and too retouched).
- Sloppy or inappropriate dressing (women dressing too sexily, too much makeup--man wearing blue jeans or tennis shoes).
- Actors who lie about their abilities or talents (i.e., they tell the casting director of a Western TV series that they can ride horseback, then show up on the set not knowing which end of the horse is the front).
The late George Abbott, for more than 50 years a dean of the American theatre as one of its leading authors, producers, and directors, answered this way:
When I hear an actor read for a part onstage, I form an opinion as to his quality in the part very quickly. But I must confess that I have no such ability when I interview him in the office. My answer to your question must therefore be almost entirely subjective. Perhaps the actor has to cast the producer and conduct himself a little differently for each.
One piece of advice, however, I believe is valid in all cases: if he can be natural, that is best. It is difficult to be natural. And there is such a short time in which to make an impression. But in any case, to leave the office having created the feeling that one is a phony is bad. Therefore, avoid exaggerations. Try not to seem too anxious. Be polite. Don't smoke unless invited to do so. Leave when the producer indicates that the interview is over.
These are negative things, so on the other side of the picture, let me say that I think it is necessary for the actor to be friendly and responsive and to treat the whole business as objectively as possible. It seems frightfully personal, but it is best to think of it as just business.
Actors fail to present themselves in the best light, according to one producer, "when they don't want to be there in the first place. In other words, when an agent or manager has insisted that an actor attend a certain audition even though he or she is wrong for the part, the actor doesn't want to be there, and this comes across to those doing the casting. When an actor wants to be at the audition and truly wants the job, the audition procedure is at its best."
Another Broadway producer told me:
The most common single asset of actors approaching an office, whether they have been in before or not, is preparedness. They can be prepared in many areas.
First, read the play. It seems inconceivable that an actor would come into an office and ask for a job in a play without having made every effort to read or see it. We are continually amazed when we ask an actor what part he would like to read for to find that he is totally ignorant of the play or the novel from which the play was originally adapted. Such an approach makes the producer or director doubt the seriousness of the actor applying for the job. Of course, it is impossible for an actor, in most cases, to read a new play for which he may be applying for work. But then he can prepare in other ways, and can, for example, be certain that the pictures which he has submitted to the various offices are up to date.
One should not come into an office dressed for a day at the beach. Regardless of the artistic aspects of the theatre, it is a business and one that pays rather well when an actor is employed. All actors should present themselves in their best manner. To do this, a certain standard of dress would seem to be normal, under the circumstances. Nor should he come dressed for the part. Any producer or director worth his salt can detect an actor's sensitivity in an office. While he may not have a clear picture of the actor's range, he can at least react to the actor as a person. This is more easily accomplished when the actor presents his natural self.
A prominent Broadway director:
If it were possible via yoga or some similar method of enormous control for the actor to leave his nerves in the waiting room and bring into the interview his own relaxed personality, everyone would benefit. The artificial office personality is transparent and doesn't allow a real appraisal of the actor's suitability for a part.
I believe that most directors, as they should, know exactly what they are looking for when casting. Some of the qualities they are seeking can be verbalized-some are intuitive and "chemical" and cannot be described. Under these circumstances, I feel that the actor gains nothing in pressing for explanations or indulging in excessive persuasion.
The director is looking for an indication of whether or not the actor, within his own frame of reference, can encompass the essential qualities of the character in the play. This can best be determined if he will know himself and be himself.
A well-known New York agent recommended:
A listening attitude: It is difficult not to talk about oneself when each appointment is so important, but if one can just listen to what the other person says and respond naturally, everyone is better off.
The late Lucille Phillips was a well-known agent in New York. Although this advice from her was offered some time ago, it is as good today as ever:
To ascertain the attitude or manner assumed by an actor or actress introducing herself or himself to an agent for the first time, there are only a few certain basic necessities to observe, but I mean necessities.
First, a neat, unobtrusive appearance. Choose simple clothes that you can keep in order yourself, colors that blend and do not soil easily, well-groomed hair, and a light street makeup.
If you do not feel a definite confidence in your ability to sell yourself, here's where your talent must come to the fore-assume an air of self-confidence (not arrogance), always being aware that an agent is giving you the opportunity to establish yourself with him. He is a merchant and must have the correct merchandise to sell. He cannot take chances with unknown material, or he sacrifices the confidence of his clients. So try to understand his problem as well as yours. Be as brief as possible in your first interview.
When an agent asks you about yourself, don't fumble for your portfolio and reach for the inevitable photograph and resume. He'll ask for them if and when he wants them. Try to tell him briefly what you have done and why you think you might be of value to him.
If he places you on file and tells you to keep in touch with the office, come in occasionally, repeat your name often so that he attaches it to your appearance in his memory, and leave quickly, unless he asks you to wait. Don't say, "Oh, I bet you've forgotten little me and don't even remember my name." No doubt he has.
